Films from Latvia

Published by the National Film Centre of Latvia
Water / Photo: Agnese Zeltiņa
Film
News
from Latvia
Special Issue Berlinale 2006
CONTENTS
Intro by Ilze Gailite Holmberg, Managing Director, NFC
1
In Competition The Delicacy of Water by Mārtiņš Slišāns
2
Film Forum Arsenals Celebrates its Anniversary by Kristīne Matīsa
6
10 Reasons Why to Shoot in your films in Latvia
7
EU Funds Coming Soon
10
Facts & Figures
14
Useful Addresses
17
6
9
3
4
2
1
5
7
8
1
Ilze Gailite Holmberg
Managing Director NFC &
Baltic Films Chairwoman
[email protected]
2
Elita Kalnaella
Assistant to Managing Director
[email protected]
3
Andrejs Apsītis
Deputy Managing Director &
Eurimages National Representative
[email protected]
4
Zigita Saulīte
Information & Publications Officer
[email protected]
5
Zanda Dūdiņa
Head of Information and Distribution &
Baltic Films Representative
[email protected]
6
Uldis Dimiševskis
Production Co-ordinator
[email protected]
7
Ieva Pitruka
Film Festivals Co-ordinator
[email protected]
8
Lelda Ozola
MEDIA Desk Latvia
[email protected]
9
Agnese Zeltiņa
Office Manager & Photographer
[email protected]
Latvian News
The catalogue of Latvian films for 2005/2006 indicates
an encouraging development in Latvian film – gradually
increasing film production and a developing film
environment.
The year 2005 witnessed the largest number of films
simultaneously in production since the independence of
1991: 5 full-length fiction films, 2 full-length animation
films and a number of documentaries and short
animation films.
The year 2006 will be the year of Latvian film
premieres – from films by acclaimed art-house movie
directors (Laila Pakalniņa’s The Hostage, Viesturs Kairišs’
The Dark Deer) to a historical mainstream movie (Aigars
Grauba’s Defenders of Riga) and animation films for the
young movie goers (The Three Musketeers, Lotte from
Gadgetville), as well as a debut in fiction by the talented
documentary film director Juris Poškus.
With growing state support for film, Latvian producers
are able to attract greater financing from European funds
(Eurimages and MEDIA Plus), and operate internationally
with more success – almost all of the films in production
are international co-productions. A regular co-production
partner for Latvian film is Estonia, and this fact has led to
the idea of establishing a Baltic Co-production Fund – a
plan that has to be further developed and implemented.
There is more good news: Laila Pakalniņa’s short feature
Water, has been selected for the Berlin Film Festival.
The Film Law is on its way to being adopted. The Riga
Film Museum is in the process of changing its location
from outskirts of Riga to the very centre of the Old
Town, where it will form the basis of the yet to be firmly
established Cinematheque of Latvia.
INTRO
The Baltic Dimension
The year 2005 was a successful one for Baltic
collaboration – the platform of Baltic Films. 2006 looks
promising as well.
In September 2006, Latvia will become a regular
host of the Baltic Sea Forum for Documentaries, thus
celebrating the 10th anniversary of the event which
started on the beautiful island of Bornholm in Denmark,
and then moved to the Baltic countries, where it has
now become the most important yearly international
venue for documentary film under the auspices of Baltic
Films.
The Baltic Sea Forum is a documentary project market,
co-organised by the National Film Centre of Latvia,
Baltic Films and the European Documentary Network.
It brings together Baltic, Polish, Russian, Belarusian
and Ukrainian producers and the commissioning editors
and representatives of film funds from all over Europe,
looking for new and exciting documentary projects from
the Baltic region.
Over the last 10 years, the Forum has been godfathering prize-winning films from such acclaimed
directors as Herz Frank, Ivars Seleckis, Audrius Stonys,
Arunas Matelis and others.
Contact and information: [email protected];
www.mediadesk.lv
In 2005, Baltic Films and Tallinn University became
co-founders of a project that is designed to positively
change the Baltic audiovisual landscape – the Baltic
Film and Media School. Students from all three
Baltic countries will be able to receive internationally
competitive education on a MA level in all main film
professions. The new masters programme in film arts
will be launched in September 2006.
The main events co-organised by Baltic Films in 2006
are: participation at the Berlinale European Film Market,
the Marché du Film in Cannes, Sunny Side of the Doc
at La Rochelle, the Karlovy Vary IFF and Nordic Film
Days in Lübeck; organising the Baltic Sea Forum for
Documentaries in Riga, Latvia and the Baltic Event coproduction venue in Tallinn, Estonia.
Ilze Gailite Holmberg
National Film Centre of Latvia, Managing Director
Baltic Films, Chairwoman
IN COMPETITION
by Mārtiņš Slišāns
Film Critic
The Delicacy of Water
Water/Ūdens/Feature (short)/35 mm/12 min/2006/Director Laila Pakalniņa/Producer Laila Pakalniņa/
Production Hargla Company/International Sales Hargla Company, Valtaiķu 19, Rīga, LV-1029 Latvia,
tel.+371 9235 618, [email protected]
a
discovery at Cannes, a
recent competitor at the
Venice IFF – now for the
first time Laila Pakalniņa’s work
will be featured in the Shorts
Competition at the Berlinale. After
16 documentaries, 2 feature films
and 1 TV special, Laila Pakalniņa
is making her debut in the genre
of fiction short. Clean and clear.
Water by Laila Pakalniņa has been
included among the favourites of
the selectors at the Berlinale.
• How would you feel if you arrived
for a swim at you favourite pool
only to discover that the water is
cold? That’s exactly what happened
to the author of Water. It triggered
Laila Pakalniņa’s fantasy which
now seems to have overgrown the
initial momentum. At the outset
Water was intended as a short,
but after the script was finished,
Pakalniņa understood that she has
more in mind than the initial bargain
of a moment at the pool. Now
we can look forward to a featurelength tetralogy combining all four
elements – water, fire, air and earth.
• With two higher-education
2
diplomas – the first in journalism
from Moscow University and the
second in film directing from the
Moscow Film Institute (VGIK) – Laila
Pakalniņa is not your usual sort of
director. If one looks at Pakalniņa’s
track record, there is hardly another
director in Latvia who can match
her international success. She has
an air of anti-establishment about
her, but at the same time she is in
the middle of the film scene. Her
first black & white documentary
shorts after graduation from the
Moscow Film Institute, which
coincided with the collapse of the
Soviet Union, were discovered at
Cannes. The Ferry (1994) and The
Mail (1995) were included in the
Official selection. Ten years have
passed since then. Pakalniņa’s first
feature, The Shoe (1998), followed
in the footsteps of her shorts at
Cannes. For her second feature, The
Python (2003), the
people at Venice
were quicker and
included it in their
new Upstream
competition
section. As for
her latest doc –
Pakalniņa’s Dream
Land (2004), was
picked-up by
the high-profile
Amsterdam IDFA
for screening last
year.
• So why does Pakalniņa’s work
fascinate people who’ve seen
thousands of films? If one speaks
of Laila Pakalniņa as overused,
the notion of auteur still can’t be
avoided. It’s the principal originality
featured exclusively in her work and
in not in that of other directors. A
Laila Pakalniņa
Born 1962. Graduate of Moscow University,
TV Journalism and VGIK, Film Directing.
Has directed 16 documentaries, 2 short and 2
feature films. Finds inspiration in moments of
life – in movements, words, lights, situations.
In childhood wanted to become an ice-cream
vendor.
world of delicate interplay between
a mostly static frame recording
reality as it happens, in front of our
eyes, and a world of sound mostly
outside of the frame. It seems
like nothing much is happening.
Sometimes “nothing much” is an
exaggeration. It seems like nothing
is happening! Just wait a second, or
two or three… and slowly, bit by bit,
you’re immersed into a window to
the world as Laila Pakalniņa sees it.
• Somehow the best description of
what (not) happens in Pakalniņa’s
films and why it is so rewarding to
actually watch them is a feeling that
radiates from the following story. In
the world seen by Laila Pakalniņa:
“I wait hopelessly long for an
elevator in a small hotel in Prague. It
is evident that someone is riding it.
Down-up. Up-down. Suddenly the
elevator doors open. In front of me
is a Japanese girl who asks: “Could
you tell me how to work this lift?” I
explained, and afterwards I never did
manage to catch the elevator…
I took the stairs.”
• It’s just the thing that Pakalniņa
does in her films. She “waits” for
things to happen, and then, when
they happen, she “takes the stairs”.
The small everyday absurdities
3
Water / Photo: Agnese Zeltiņa
IN COMPETITION
none of us seem to notice, but Laila
Pakalniņa does. She never uses
the crutches of computer graphics
and never averts her gaze, so the
pictures we get are crisp and clear.
As she puts it: “Today you can do
just about anything in film, but it
will be CGI. But it is also possible to
do challenging things without that
artificial form. “Live cinema” is more
cinematic than one constructed in a
computer.”
• In Pakalniņa’s case, “physical
filmmaking” is a value that will not
deflate when the next generation
of computer chips emerge. As
simple as the story set-up is, the
technical achievements in Water
reveal themselves to an experienced
viewer. Long-time collaborator,
director of photography, Gints
Bērziņš, assisted by the underwater
expertise of cinematographer,
Kaspars Braķis, has done fine work
in presenting the subjective feel
of being in another reality. The
high-points include a 360-degree
underwater panorama and the
refined POV of the swimmer above
and below the water’s surface,
“stop-watched” by people in black
trousers standing at the edge of the
pool.
• Sometimes the director’s
observation of events happening
within the frame reminds us of
the notion of detached gaze from
the Japanese No theatre, which
Akira Kurosawa spoke of in regards
to directing. Except that here it’s
turned into a philosophy of life.
We could name it the philosophy
of observation. If you’d ask for the
main principles in this philosophy I’d
say there are none. A detached gaze
is needed – one that doesn’t make
any judgements or comments. It’s
almost like reciting Peking Opera
while looking at a blank sheet of
paper. You have to let go of all your
expectations and concentrate on
sensing the rhyme and rhythm.
• How does it work in Water? This
is a challenging question for Laila
Pakalniņa, and she comments:
“Whatever I will explain to film
critics about the meaning of what
takes place in Water would ruin
the experience for audience. I’ve
made it open, so those who watch
it can fill it with their own meanings.
The main thing is – feel free when
watching it!” She compares the
filmmaking process to the feeling of
being in water – you experience a
different reality.
• So don’t ask her why five vintage
Soviet milk trucks are bringing fish
to a pool in Water. And I wouldn’t
ask why a big, black, ominous
Mercedes-Benz is chasing a boy
with a baby carriage in a parking
lot, and why the chase sounds like
a Russian troika with a carriage
attached gliding across a snowy
plain.
• Sometimes Water is reminiscent
of Jacques Tati’s comedy, where
the detailed little gags and stunts
make the narrative line run like
a spider’s thread strung on fine
needle-points. Except that the
subject is as broad as water. At
IN COMPETITION
other times it plays out like a theatre
of the absurd. Although that art form
seems old-fashioned compared with
what happens in Water. Parts of
the story derive their meaning from
a subtle interplay of meanings you
invent for them. Is she serious? Is
she playing? Is she there at all? Only
the small “pay-offs” at the end of
each scene suggest that there is
a behind-the-screen presence – a
director with her own very distinct
mindset and view of the world.
• At a time when cinema is largely
considered a story-driven medium,
Water questions the very nature
of film. Laila Pakalniņa’s film offers
a challenge and brings back the
“cinematic experience” – with
experience being the prime interest.
An interest in catching a passing
moment. But this is not Faust’s
cry for the moment to last forever.
Pakalniņa lets moments slip by for
others to follow, and even more
stimulating and absurd, she offers
enjoyment of these moments and
doesn’t dramatise by the rules of
story-driven thinking.
• Water makes one recall the
beginnings of cinema – that
innocence of perception. There
is a film by Laila Pakalniņa called
Wake up! (2000). It not only offers
a slice of the social heritage left
by the Soviet army in a military
harbour town, but it also follows the
games and simple fun that the kids
presently living there are indulging
in. The kind of perceptive innocence
that makes one want to shout
– wake up! – this is real cinema. This
is cinema as it may have been at
its very beginning. As unreal as her
new film may seem, Laila Pakalniņa
makes us wake-up to a reality that
is more real than the well-structured
“reality” of the story-driven, music
and dialogue pumped screen
experiences we call films. There is
almost no dialogue in Water. Just
one key scene that unlocks the story
features a short dialogue between
the heroine and the person on duty
who registers attendance at the
pool. The rest of Pakalniņa’s offered
world is created by the subtle
interplay of sounds and the mostly
static framing of the mis-en-scene.
Zalila, member of the FIPRESCI Jury
at Venice 2003, put it so precisely:
“Laila Pakalniņa teases the viewer’s
voyeurism by not allowing him to
see things and actions he knows
are off-screen. The eagerness of
the viewer progressively turns into
a kind of sweet abandonment into
the hands of the filmmaker, and the
off-screen becomes a space from
where anything and everything may
happen.”
Latvian film director Varis Brasla
once said that we’ll never fully
understand women – they have
a different logic and can easily
have seven Fridays in one week.
As much as one may not like to
note the difference of sexes in the
director’s chair, this is a case in point
where we can’t escape it. I’d argue
that one has to have a woman’s
perception in order to create the
subtle world of aural experience we
get in Water – the fine touches of
the almost surreal sound experience.
It can be called sound imagery – a
tapestry so delicate that one beat of
disharmony would ruin it.
into film semiotics. It is full of signs
and yet very pure at the same
time. It reads on the level that the
spectator is prepared to read. This
may be one of the most interesting
and intriguing things about Water – it
is wholesomely unpretentious, but
reads very intellectually at the same
time. It could provoke a discussion
among those who consider
themselves cineastes, making one
wonder – is it a new frontier? Is this
where the cinema of the future is
heading? Can it be the pure VJ-ing of
senses and meanings?
• The notion of life happening
somewhere else pops into mind
when you’re immersed in the reality
of Pakalniņa’s film. Your visual
senses are stripped of the usual
overdose and the minimalistic misen-scene draws your attention to
a world of mainly off-screen sound
creating a reality beyond the one you
see on the screen – although this
sense of the other world does have
a touch of humour behind it. As Ikbal
• Water may seem intellectual to
those who are intellectual. It may
seem symbolic for those who are
Water
BY LAILA PAKALNIŅA
11/02/2006
12/02/2006
13/02/2006
15/02/2006
19/02/2006
19.00 CinemaxX 3
22.00 CinemaxX 3
13.00 CinemaxX 3
13.00 CinemaxX 3
19.00 CinemaxX 3
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FILM FESTIVAL
a
3,500-year-old mummy
breathes like a character
from Stanley Kubrick’s 2001:
A Space Odyssey; a block of ice
transported from Alaska contains
Charlie Chaplin’s cane from The
Gold Rush; Sergey Eisenstein
bequeaths a milk separator to
his hometown which contains a
hidden gold bar… Such marvels can
only be experienced in Riga at the
International Film Forum, Arsenals,
celebrating its twentieth anniversary
this year.
by Kristīne Matīsa
Journalist, daily Neatkarīgā
the film connoisseurs of the world.
• Arsenals is conceptual not
only in its film selection, but also
in its collective image, gaining
new nuances each year while
still maintaining some constant,
as though etched in stone,
characteristics. There are no
ceremonious speeches during the
opening festivities, in fact, not a
word is spoken. There are only
lights, sound and the event. The
closing ceremony is also highly
traditional – even though the
competition, containing some twenty
odd films, is part of the festival
programme, all of the directors
whose films were included in the
competition screening are winners.
They each receive the Magical
Crystal with the engraving Best
Director. The main prize – the fate
of the USD 10,000 is determined
by (His Majesty “Chance”), in the
form of a button from the tunic of
the president of Arsenals, Augusts
Sukuts, which falls into one of the
cocktail glasses and a draw amongst
Film Forum Arsenals
Celebrates its Anniversary
• In 1986, the festival was born
as part of the city’s festivities
celebrating Soviet Film Day and the
90th anniversary of the first moving
picture show in Riga. Cleverly
utilizing perestroika, which was
in full swing at the time, and the
enthusiasm of the underground
movie scene, it then gradually gained
in importance. By now the festival
has been conceptually stabilized
in not following cheap flash and
temporary fads. Arsenals searches
for novelty in the language of film,
including in its programme films
which address the viewer with
scenes, rhythms, lights, shadows
and sound. If some pedantic
person would undertake the task
of organizing all of the films shown
over these twenty years of Arsenals’
programmes and retrospectives, it
would be a wonderful sampling for
6
the competing directors is then
held on stage. The basis for this
kind of lottery lies with the forum
organizers’ certainty that art can’t be
determined by competition and in
terms of best or worst – the films in
the competition screening have gone
through as much rigorous scrutiny
as to not leave the jury any doubts.
In the past, the cash awarded at the
end of the closing ceremony has
materialized from water, air, ice and
sheep’s wool, and no one knows
what will happen this year.
• Arsenals is also convinced that
film artistry can emerge in any genre
and format, and that’s why features,
documentaries and animation
films are all included in the main
competition screening and the other
programmes, and in the Baltic Film
Competition screening as well,
which is a wonderful opportunity
for the festival guests to become
familiar with films from Arsenals’
home region.
• Arsenals always expands upon
and enriches the screenings of
good films in five movie theatres
with a variety of events which
enthuse the media and society,
offering unbelievable experiences
and breathtaking tumbles – both
the Dutchman, Jos Stelling, and
the American, Bill Plympton, have
admitted that Arsenals was the most
surreal experience in their lives. For
many years now on a set evening,
the guests of Arsenals have climbed
aboard a train and set out on a
pilgrimage to the small Latvian town
of Keipene, where an object worthy
of a Guinness record stands – a
lighthouse, 70 kilometres from
the sea. Sergey Eisenstein mans
the station house ticket window,
and the lighthouse radiates out the
letter “P” in honour of Latvian film
legend, Juris Podnieks. From an
old-fashioned payphone one can call
Marilyn Monroe, Jean-Luc Godard,
Andrei Tarkovsky, Salvador Dali
or Marlene Dietrich. This year as
well, the guests of Arsenals will be
invited to Keipene for the opening
of a Giants’ table in the spirit of The
Battleship Potemkin.
• “Even an earthquake won’t stop
film screenings in Riga” - the very
first Arsenals started with this
slogan, and really – even though
seismic disturbances have been
recorded on festival days both in
1986 and 2004, this hasn’t been an
obstacle for Arsenals. Every year
some 120 foreign guests arrive, and
for the anniversary this number could
triple because everyone is invited those who have already experienced
the magic of Arsenals, and those
hoping to be acquainted. From
September 16th-24th, the Latvian
capital of Riga will be transformed
into Arsenals city and the whole
world will be welcome to join in on
this fascinating experience.
More information is available at
www.arsenal.lv
10 R E A S O NS
“The recent experience shows that foreign producers come
to shoot their films in Riga and Latvia for various types of
locations – for example, the Russians look for a Western
European city, the Brits make use of the harsh winter to
make films with action taking place in snowy Siberia”,
says the manager of a local film production company.
1
Professional and well-equipped studios and efficient
producers able to cater for large and small scale
productions (productions shot in Latvia include such
films as Invincible by Werner Herzog, Honeybaby by Mika
Kaurismaki, Archangel by Jon Jones, starring Daniel Craig
and others);
Cinevillage – a studio backlot unique to the region with
a wide range of open-air set decorations of architecture
ranging from the 19th century to the mid 20th century,
stages, catering and hotel service;
Riga, the capital with various types of locations: the
richest heritage of art nouveau architecture in Northern
Europe, picturesque wooden architecture from the end of
the 19th and beginning of the 20th century; Soviet period
2
3
WHY TO SHOOT YOUR FILMS IN LATVIA
architecture from Stalinist buildings to the bleak apartment
blocks of the the last century;
Good, cost-effective international transportation
connections (airlines such as Air Baltic, Ryanair, EasyJet
and many others; buses, trains);
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Cost-effective and resourceful service;
Good infrastructure, hotels and catering in the region
around the capital;
Palaces (for example, Rundale palace by architect
Rastrelli) and manor houses;
Beautiful seashore, as close as 25 km from the capital;
Virgin nature and landscape;
Enthusiastic people eager to work on films.
We will be happy to assist you with information about the
possibilities of making your films in Latvia. Please contact:
[email protected] or [email protected], tel: + 371 7358 858
PLATFORMA FILMA / CINEVILLA STUDIO and BACKLOT
Cinevilla Studio is a film production and film industry facility centre in Latvia, offering excellent services,
technical equipment and two stages. Cinevilla Studio is able to provide clients with exceptional quality
full-services for the shooting of films or advertising clips.
Cinevilla Studio is located in a quiet pinewood forest and sand dune setting, just a few steps away
from the beautiful, famous Baltic white sand beaches of the resort and spa town, Jurmala. Travelling
by car, Cinevilla Studio is only 20 minutes from Riga city centre and 15 minutes from Riga International
Airport.
One of the services provided by Cinevilla is the only open-air backlot with permanent film sets in
Latvia – Cinevillage. The overall area of Cinevillage is 150 ha, with 15 ha of the territory currently developed
and consisting of large scale film sets with historical buildings and other features, which create a sense of
historic reality.
Cinevilla Studio has its own team of highly-qualified film industry professionals. Working together
with Cinevilla Studio, clients are able to create the high-quality product desired for today’s competitive film
industry market.
RIGA FILM STUDIO
Founded in 1946 Riga Film Studio is one of the biggest bases for film production and services in Baltics.
The studio provides all kinds of extensive rentals, facilities and services to make a quality film with rather
low costs. It is located 20 minutes from the centre of the city which is famous for its Old Town and Art
Nouveau architecture.
Main activity
• Feature film production / studio and
equipment rental;
• Producer: Andrejs Ēķis;
• Cinevilla Studio facilities:
1) Sound stage (735 m2, 104 m2),
set construction, props, costumes;
2) Grip and lighting equipment;
3) Sony HDW-F900 digital camera and
accessories;
4) Broadcast quality non-linear editing
suit (HD, BetaSP, DVC-Pro, DV);
5) Sound production and
postproduction equipment;
6) 3D animation and composition
equipment;
7) Cinevillage Backlot: 150 hectare
large rural locale for building sets.
• Studio Manager: Aigars Grauba
Dzintaru prospekts 19,
LV-2015, Jūrmala, Latvia
Tel: +371 7147032, Fax: +371 7147020
[email protected]; [email protected]
www.cinevilla.lv
Main activity
• Feature film and TV production /
studio and equipment rental;
• Facilities:
35 mm shooting and editing equipment,
Sound stages (983 m2, 832 m2, 300 m2)
set construction and set dressing, props,
costumes;
• Grip, lighting and camera equipment;
• Studio Manager Vents Horsts,
Šmerļa 3, Riga, LV 1006, Latvia
Tel.: +371 7520 522,
Mob. tel.: +371 9338 444,
Fax: + 371 7553 850
[email protected]; [email protected]
www.studio.lv
7
Come
See New Horizons
[email protected]
Peitavas 10/12, Riga, LV1050, Latvia, tel + 371 7358 878, fax + 371 7358 877
COMING SOON
Films from Latvia
FEATURES IN POST-PRODUCTION
Defenders of Riga / Rīgas sargi
Historical drama, HD, 90 min, dir. Aigars Grauba, Platforma
Filma, supported by MEDIA TV Broadcasting, developed with the
assistance of Arista
It’s 1919, and a war-weary soldier, Martins, returns home to the
newly independent Latvia. He wants only to get back to a normal
life and to Elza, the girl he left behind. On the day of their wedding,
a rogue German general orders an attack on Riga and Martins and
Elza are forced to flee. Martins has to make the difficult decision
to join the fight to defend his city and to leave Elza behind, once
again. The fledgling Latvian army battling alongside thousands of
volunteers manage to beat back the aggressors. This miraculous
victory ensures the survival of the Republic of Latvia as an
independent state, and Martins and Elza are finally able to return
home and to their future together.
The Dark Deer / Tumšie brieži
Drama, 35mm, 85 min, dir. Viesturs Kairišs, Kaupo Filma in
co-production with Fischerfilm, Austria, supported by MEDIA
Development, developed with the assistance of SOURCES
A story about a girl who was born in blood. 17 year-old Ria is a wild
creature and a secret at the same time – a young woman who finds
herself in the middle of complicated family circumstances. She
spends her best moments in the wilds of the garden together with the
deer she has grown up with and thinks of as her own children. Ria
experiences her complicated first love, but it results in desperate and
tragic action, killing the ones she loves most of all.
The Hostage / Ķīlnieks
Tragicomedy, 35mm, 73 min, dir. Laila Pakalniņa, Kompānija
Hargla, co-production with Acuba Film, Estonia and Casablanca
Film Production, Slovenia supported by MEDIA Development,
developed with the assistance of Colin Tucker, SOURCES
The Hijacker forces to land the plane at the Rīga Airport. 7 year-old
Tom, travelling on his own, voluntarily becomes a hostage. Along
with the traditional demands, the Hijacker adds the demands of
the little hostage – beginning with some local chocolate and a selfinstruction tape for learning the native language, and ending with
organizing a Song Festival and a special biathletes’ performance –
all ideas originating from a CD on Latvia.
Mona / Mona
Drama, 35mm, 90 min, dir. Ināra Kolmane, Film Studio Deviņi,
co-production with Icelandic Film Coorporation, supported by
MEDIA Development
A story of different worlds – about a man and a woman, about
the city and the countryside, about the future and the past, about
animals and their killers, about deep and short-lived passion
and the ancient mystery of a woman. It is a story interwoven with
visions, metamorphosis and love.
10
12
Please, contact:
Producer Andrejs Ēķis,
Platforma Filma
Dzintaru pr. 19, Jūrmala,
LV 2115, Latvia
Tel./Fax: +371 7147 022
[email protected]
www.cinevilla.lv
Please, contact:
Producers Guntis Trekteris,
Kaupo Filma; Markus
Fischer, Fischerfilm,
Austria
Stabu 17, Rīga
LV1011, Latvia
Tel.: +371 7291 720
Fax: +371 7270 542
[email protected]
Please, contact:
Producers Laila Pakalniņa,
Kompānija Hargla, Arko
Okk, Acuba Film, Igor
Pedicek, Casablanca Film
Production, Slovenia
Valtaiķu 19, Rīga,
LV 1029 Latvia
Mob.: +371 9235 618
Fax: + 371 7577 686
[email protected]
Please, contact:
Producers Jānis Juhņēvičs,
Film Studio Deviņi, Fridrik
Thor Fridrikson, Icelandic
Film Coorporation
Ludzas 24, Rīga
LV 1003, Latvia
Tel.: +371 7241 688
Fax: +371 7241 434
[email protected]
www.latfilma/devini
COMING SOON
Supported by EU Funds
ANIMATION IN POST-PRODUCTION
Lotte from Gadgetville /
Lote no Izgudrotāju ciema
Please, contact:
Producers Vilnis
Kalnaellis, Rija Films,
Riina Sildos, Kalev Tamm,
Eesti Joonisfilm
Mēness 4, Rīga
LV1013 Latvia
Tel.: +371 7362 656,
Fax: +371 7339 198
[email protected]
www.rijafilms.lv
Family film, 75 min, 35mm, dir. Janno Põldma, Heiki Emits,
Eesti Joonisfilm, Estonia, co-production with Rija Films, Latvia,
supported by MEDIA Development and EURIMAGES
Cheerful puppy-girl Lotte lives in a small seaside village with her
father, a famous inventor, and her spirited mother. Lotte always
has things she wants to do, and she is always eager to experience
something new. The most important event in the village is the
annual competition of inventors where the prize goes to the most
efficient and wittiest invention. Who will be the winner this year?
The Three Musketeers / Trīs musketieri
Please, contact:
Producer Māris Putniņš,
ABoom
Šmerļa 3, Rīga
LV 1006 Latvia
Tel.: +371 7520 770
Fax: +371 7542 939
[email protected]
Family film, 80 min, 35mm, dir. Jānis Cimermanis, ABoom, Latvia,
co-production with Zentropa Entertainments3ApS, Denmark,
and Three Musketeers Films, United Kingdom, supported by
EURIMAGES
A classic story known all over the world that has captured
and thrilled generations of children and adults now in puppet
animation format. With all of the sense of childish enthusiasm
intact, this romantic story disguised as humour and farce will once
again delight.
DOCUMENTARIES IN POST-PRODUCTION
My Husband Andrei Sakharov /
Mans vīrs Andrejs Saharovs
Please, contact:
Producers Jānis Juhņēvičs,
Film Studio Deviņi
Ludzas 24, Rīga
LV 1003, Latvia
Tel.: +371 7241 688
Fax: +371 7241 434
[email protected]
www.latfilma.lv/devini
Documentary, digital Betacam, 52 min., dir. Ināra Kolmane, Film
Studio Deviņi, co-production with Odysseus Productions, France,
supported by MEDIA TV Broadcasting
Through a vast coverage of exclusive archive materials and
interviews and personally narrated by his wife, Yelena Bonner,
the story of the life of Andrei Sakharov, the most famous Soviet
dissident, Nobel Peace Prize winner and the creator of the Soviet
hydrogen bomb will be revealed.
ANIMATION IN PRODUCTION
Danceplay / Spēlēju dancoju
Animation, Betacam SP, 30 min., dir. Roze Stiebra, Dauka,
supported by MEDIA Development
A musical animation based on a classic novel by Latvian author,
Janis Rainis, set on a huge stage above the busy street traffic of
Riga, the capital of Latvia. The animated images escape the stageframe and join the crowds.
Please, contact:
Producer Ansis Bērziņš, Dauka
Šmerļa 3, Rīga LV 1006, Latvia
Tel./Fax: +371 7530 191
[email protected]
11
13
C
OMING SOON
COMING
Films from Latvia
DOCUMENTARIES IN PRODUCTION
The Church will Arrive in the Evening /
Baznīca piestās vakarā
Please, contact:
Producer Elvita Ruka,
Vides Filmu Studija
Pils 17, Rīga
LV 1050, Latvia
Tel: +371 7503 588
Fax: +371 7503 589
[email protected],
www.vfs.lv
Documentary, HD, 52 min., dir. Andis Mizišs, Vides Filmu Studija,
supported by MEDIA Development
In the ice-free months Father Gennady captains a barge
transformed into a floating church on a mission, cruising up and
down the Don River and bringing spiritual food to the remote
Cossack villages.
The Debt to Afganistan / Parāds Afganistānai
Please, contact:
Producer Askolds Saulītis,
Subjektiv Filma
Stabu 17, Rīga
LV 1011, Latvia
Tel.:+ 371 7295 640
Mob.:+371 9299 564
[email protected]
Documentary, Betacam SP, 58 min., dir. Askolds Saulītis,
Subjektiv Filma, supported by MEDIA Development
There is an old saying attributed to Alexander the Great: he who
will rule Afghanistan will rule the world. The film will portray “the
roof of the Earth” and track the close links between this far-off
country and Latvia.
Us and Them / Vai citi?
Please, contact:
Producer Antra Cilinska,
Juris Podnieks Studio
Citadeles 2, Rīga
LV 1010, Latvia
Tel.:+ 371 7216 967
Fax: + 371 7210 908
[email protected], www.jps.lv
Documentary, Betacam SP, 60 min., dir. Antra Cilinska, Juris
Podnieks Studio, supported by MEDIA Development, developed
with the assistance of Eurodoc Production
The existence of two parallel communities – one Latvian, the
other Russian, is the reality of present day Latvia. After the
establishment of an independent Latvian Republic in 1991,
the Russian speaking community began to see themselves as a
threatened minority and to depict themselves as oppressed. Where
does truth lie? Are there victims? Or is it simply that the idea of
integration, for both sides, does not work properly?
The Deconstruction of an Artist /
Nepareizais latvietis
by Stalin’s regime, his life and artistic career still pose many
unanswered questions.
Documentary, Digital Betacam, 52 min., dir. Pēteris Krilovs, Vides
Filmu Studija, co-production with Vivement Lundi, France,
supported by MEDIA TV Broadcasting, developed with the
assistance of Ex-Oriente
Gustav Klucis, the son of Latvian peasants, goes to Russia and
becomes a renowned master of Russian constructivism. Killed
Please, contact:
Producer Uldis Cekulis,
Vides Filmu Studija
Pils 17, Rīga LV 1050, Latvia
Tel: +371 7503 588, Fax: +371 7503 589
[email protected], www.vfs.lv
FEATURES IN PRE-PRODUCTION
Rudolf’s Gold / Rūdolfa mantojums
community. The ancient customs and traditions of brewing beer
serve as a colourful backdrop.
An upbeat comedy set over a hundred years ago in Latvia during a
time of technological progress and optimism upon entering a new
century. The story revolves around the blossoming love, with all
the ensuing twists and turns, of several couples in a small rural
Please, contact:
Producer Andrejs Ēķis, Platforma Filma
Dzintaru prospekts 19, Jūrmala, LV 2115, Latvia
Tel./Fax: +371 7147 022
[email protected]
www.cinevilla.lv
Comedy, HD, 90 min, dir. Jānis Streičs, Platforma Filma,
supported by MEDIA Development
Midsummer Madness / Jāņu nakts
Comedy, 35mm, 90 min., dir. Alexander Hahn, Fischerfilm,
Austria, Steve Walsh Production, UK, Kaupo Filma, Latvia,
supported by MEDIA Development and EURIMAGES
If you have some urgent business to do in Latvia don’t try it during
midsummer because the whole place goes crazy. Curt, a typical
American, finds this out very quickly when he arrives in Riga on
Midsummer’s Day.
12
Please, contact:
Producers Guntis Trekteris, Kaupo Filma; Markus Fischer,
Fischerfilm, Austria, Steve Walsh, Steve Walsh Production, UK
Stabu 17, Rīga LV1011, Latvia
Tel.: +371 7291 720
Fax: +371 7270 542
[email protected]
COMI NG SOON
COMING
Supported by EU Funds
ANIMATION IN PRE-PRODUCTION
Golden Horse / Zelta zirgs
2D animation for family audience, 35mm, 75 min, dir. Signe
Baumane, Xavier Dujardin, Rija Films, coproduction with Paul
Thiltges Productions, Luxembourg, and Vilanima, Lithuania,
supported by MEDIA Development, developed with the assistance
of Cartoon Movie
brothers, the Cruel Prince and the Black Mother herself. The openhearted and brave Antis is not discouraged and reaches his goal.
Please, contact:
Producer Vilnis Kalnaellis,
Rija Films
Mēness 4, Rīga
LV 1013, Latvia
Tel.: +371 7362 656
Fax: +371 7339 198
[email protected]
www.rijafilms.lv
A fairy-tale about the eternal fight between good and evil where
good conquers evil by persistency, purposefulness and honesty.
Antis, the youngest of three brothers, is deeply determined to save
the beautiful Princess who is kept in a glass tower by the Black
Mother. Luckily Antis meets the White Father who encourages
him to fight for the Princess’s life although it seems an impossible
mission. The struggle involves fighting his greedy and nasty
Tales of the Sunrise Tree / Austras koka pasakas
2D/3D animation for children, Digital Betacam, dir. Nils Skapāns,
Jetmedia, Latvia, in coproduction with Qollective, Slovenia
and Sidewinder Films, UK, supported by MEDIA Development,
developed with the assistance of Cartoon Forum
Please, contact:
Producer Inga Prauliņa, Jetmedia
Tallinas 94, Rīga LV 1009, Latvia
Tel.: + 371 7296 131
Fax: + 371 7296 132
[email protected]
Good and evil reigns equally in this world. In the world of nature
and animals some nasty little jokers attempt to change the
accepted order of things. The forest elves, the helpful hands of the
Sunrise Tree, are asked to bring everything back to normal. But
they must be done by sunrise.
FEATURES IN DEVELOPMENT
Bastards / Bastardi
Please, contact:
Producer Gatis Upmalis
F.O.R.M.A.
Lāčplēša 36- 4A, Rīga
LV 1011 Latvia
Tel.: +371 7287 300
Fax: + 371 7287 301
[email protected]
Drama, 35mm, 90 min, dir. Varis Brasla, F.O.R.M.A., supported by
MEDIA Development, developed with the assistance of ACE
Three people without a homeland painfully try to build one in a
foreign country – old roots torn, new ones not found. 1956, England.
A sleepy, post-WWII harbour city. For most people the war is over,
but not for Arturs Skuja (30), a Latvian ex-soldier who has lost his
country and his family, and still battles wartime nightmares. He
encounters Juhan, another émigré and also an ex-soldier, and his
Irish girlfriend Esther. Juhan has a drinking problem and Esther
wants to teach him a lesson. She pretends to have feelings for
Arturs. The innocent flirtation gives rise to an unexpected attraction.
Will love be able to make-up for a nightmare of a life?
Bitter Wine / Rūgtais vīns
Drama, HD, 80 min., dir. Rolands Kalniņš, Platforma Filma,
supported by MEDIA Development
A dramatic romance with ironic undertones set in and around
the city of Riga. The story revolves around Donats, a talented
architectural-designer and a modern-day Don Juan, and follows
him as he weaves through his various relationships with the
women in his life. There’s Banuta, a businesswoman, Anna, an
artist, Regina, more mature and a confidante, and Ieva, a young
musician. Donats goes from one to the other seemingly without any
serious entanglement or consequences. But when he falls in love
with his employer Agnese, who is married to Ralfs, he comes up
against a formidable opponent.
Finding Elvis / Kur pazudis Elvis
Childrens’ drama, DVCAM, 97 min., dir. Una Celma, Latsfilma,
supported by MEDIA Development
Riga schoolchildren have complicated relationships with their
always-busy parents. One day, a teenaged boy, Elvis, disappears
along with his mother. No one seems to be interested in looking
for them. But Nils, Elvis’ classmate, decides to organize a team of
detectives and they set-off on a search.
Please, contact:
Producer Andrejs Ēķis, Platforma Filma
Dzintaru prospekts 19, Jūrmala, LV 2115, Latvia
Tel./Fax: +371 7147 022
[email protected]
www.cinevilla.lv
Please, contact:
Producer Una Celma, Latsfilma
Čaka 33-43, Rīga LV 1011, Latvia
Tel: + 371 9475 390
[email protected]
13
FACTS&FIGUR ES
GENERAL DATA
Total population
2 306 434
Population of capital city Riga
731 762
Number of households 2005
897 445
Currency LVL (Lats)
1 EUR = 0,7028 LVL
Standard VAT rate
18%
VAT for cinema tickets
5%
Personal income tax
25%
GDP 2004
10 452 144 000 EUR
GDP per capita 2004
4 519EUR
Average monthly income 2004
300 EUR
Number of cinemas 2005
49
Number of screens 2005
65
Number of arthouse cinemas 2005
1
Number of multiplex with 7 screens and more 2005
1
Active production companies 2005
40
Active distribution companies 2005
2
Number of admissions 2005
1 601 352
Admissions per capita 2005
0,69
Gross Box Office 2005
5 197 284 EUR
Average ticket price 2005
3,24 EUR
Annual state support for film industry 2006
2 541 646 EUR
DOMESTIC FILMS RELEASED 2000-2005
Feature
films
2000
2001
2002
2003
2004
2005
2
3
1
7*
3**
2
Shorts
Animation
films
3
7
6
3
2
1
4
7
8
3
5
6
(incl. Betacam format)
Featurelength
docs
1
6
2
10
6
10
Short
docs
9
14
4
9
10
10
Total
19
27
21
32
26
29
DOMESTIC
FILMS
* incl. 3 TV Dramas released theatrically,
** incl. 2 TV Dramas released theatrically
LATVIAN FEATURE FILMS COMPLETED 2000-2005
14
Original Title
English Title
Augstuma robeža
Krišana
Ūdensbumba resnajam runcim
Es mīlu Jūsu meitu
Rudens rozes
Pitons
negribu, negribu, negribu!
Pēdējā Padomju filma
Naktssargs un veļasmazgātāja
Man patīk, ka meitene skumst
Es pērku Jūsu vīru
Tiritomba jeb zelta zivtiņa
Sauja ložu
Labās rokas
pa ceļam aizejot
Paslēpes
Baiga vasara
Vecās pagastmājas mistērijas
Maximum Headroom (Sweden/Latvia)
Fallen (Latvia/Germany)
Waterbomb for Fat Tomcat (Latvia/Estonia)
I love Your Daughter*
Roses of Autumn*
The Python
Never, Never, Ever!
The Last Soviet Movie
Night-watchman and Laundress*
You’re Sexy When You’re Sad
I’m Buying Your Husband*
Tiritomba, Golden Fish*
Handful of Bullets (Sweden/Latvia)
Good Hands (Latvia/Estonia)
Leaving by the Way
Hide-and-Seek
Dangerous Summer
The Mystery of the Old Parish House
* TV Drama released theatrically
Director
Year of Release
Una Celma
Fred Kelemen
Varis Brasla
Viesturs Dūle
Jānis Streičs
Laila Pakalniņa
Lauris Gundars
Aleksandrs Petukhovs
Jānis Streičs
Arvīds Krievs
Jānis Cimermanis
Armands Zvirbulis
Una Celma
Peter Simm
Viesturs Kairišs
Jānis Putniņš
Aigars Grauba
Jānis Streičs
2005
2005
2004
2004
2004
2003
2003
2003
2003
2003
2003
2003
2002
2001
2001
2001
2000
2000
FACTS&FI GUR ES
DISTRIBUTION
ADMISSION – GBO REVENUE 2000-2005
2000
2001
2002
2003
2004
2005
Number of
Admissions
Admissions
per capita
1 457 000
1 152 000
1 071 000
1 132 947
1 680 352
1 601 352
0,61
0,46
0,46
0,47
0,72
0,69
GBO
Average
Ticket Price
LVL
2 017 000
1 829 453
1 908 380
2 206 909
3 500 988
3 652 672
EUR
3 602 000
2 999 103
3 127 868
3 140 166
4 981 485
5 197 284
LVL
1,38
1,59
1,78
1,97
2,08
2,28
EUR
2,4
2,6
2,9
2,9
3,0
3.24
TOP TEN 2005
Title
Country of Origin
Madagascar
USA
Mr. and Mrs. Smith
USA
Harry Potter and the Goblet of Fire
UK/USA
The Phantom of the Opera
USA/UK
Shark Tale
USA
Hitch
USA
War of the Worlds
USA
Star Wars: Episode III. Revenge of the Sith
USA
King Kong
NZ/USA
9th Company
RU/UA
Admissions
54 604
48 701
42 764
41 262
38 543
30 767
29 614
29 577
27 324
26 090
GBO LVL
101 276
118 715
102 768
95 525
70 276
75 388
67 788
71 435
73 712
64 787
GBO EUR
144 104
168 917
146 227
135 921
99 994
107 268
96 454
101 643
104 883
92 184
Prints
4
2
5
2
6
3
3
4
4
3
BREAKDOWN OF FILMS BY ORIGIN 2005 (PREMIERES)
Domestic
European
USA
Other
Total
No of films
2
44
90
15
151
Admissions
17 290
297 934
1 080 345
109 244
1503 813
GBO LVL
17 851
738 033
2 488 188
248 932
3 493 004
GBO EUR
25 400
1 050 132
3 540 393
354 200
4 970 125
CINEMA PREMIERES 2000-2005
2000
2001
2002
2003
2004
2005
Domestic
4
2
1
9
3
2
European
14
35
30
33
46
44
USA
87
100
65
86
110
90
Other
1
6
3
3
7
15
Total
106
143
99
131
166
151
15
FAC TS&FIGURES
LATVIAN FILMS AT INTERNATIONAL
FILM FESTIVALS 2005
In 2005 Latvia has been represented at 245
International Film Festivals in 52 countries.
Latvian films of all genres have been selected for
competition and were shown in special programmes
and retrospectives.
Number of Latvian films at IFF
of which feature films
of which documentaries
of which animations
135
32
49
54
LATVIAN FILMS TRAVELLING MOST AROUND THE WORLD 2005
FEATURES
Krišana / FALLEN by Fred Kelemen / KinoKombat&Screen Vision / 2005, 35 mm, 90’
FIPRESCI Award, Special Jury Award and Best Cinematography Award – Festival of European Cinema in Lecce 2005, Italy
Ūdensbumba resnajam runcim / WATERBOMB FOR THE FAT TOMCAT by Varis Brasla / F.O.R.M.A. / 2004, 35mm, 75’
Pitons / THE PYTHON by Laila Pakalniņa / Hargla Company / 2003, 35 mm, 88’
DOCUMENTARIES
Leiputrija / DREAM LAND by Laila Pakalniņa / Vides Filmu studija/ 2004, DVCAM, 35’
European Film Academy Nomination – Best European documentary film of 2005
Grand Prix – Ukrainian International Documentary Film Festival 2005, Ukrain
Jury Special Mention – ECOCINEMA 2005, Greece
Main Prize – International film festival GREEN VISION – 2005, St. Petersburg, Russia
Award in category VALUE OF RESIDUES – CINEECO 2005, Lisboa, Portugal
Romeo un Džuljeta / ROMEO AND JULIET by Viesturs Kairišs / Kaupo Filma / 2004, DVCAM, 56’
Nomination for the Russian Film Academy Award “Nike 2005” in the category “Best Film of CIS and the Baltic States”
Bet stunda nāk / BUT THE HOUR IS NEAR by Juris Poškus / FA FILM / 2003, 35mm, 90’
ANIMATION
Zobārsts / DENTIST by Signe Baumane / 2005, 35mm, 10’
Best Animation Audience Award – Red Shift Film Festival 2005, USA
Prize for Third Best Animation – Tribeca Underground Film Festival 2005, USA
Best Short Animation Award – Wreck-Beach International Film festival, USA
Best Picture (Short film) and Best Auteaur – Blue November MicroFilmFest, USA
Audience Award – L’ALTERNATIVA, 12th Barcelona Independent Film Festival, Spain
Bezmiegs / INSOMNIA by Vladimir Leschiov / Rija Films / 2004, 35mm, 7’
Best Animation / Clermont Ferrand 2005, France
Honourable Mention / Nashville Film Festival 2005, USA
Best Animation – International Animated Film festival Bimini 2005, Riga, Latvia
Jury Special Mention – 45th Cracow Film Festival 2005, Poland
Best Film in Session – Melbourne International Animation FF MIAF, Australia
Audience Favourite Vote – London International Animation Festival, UK
Skudrulauva / ANTLION by Dace Rīdūze / Animācijas Brigāde / 2004, 35mm, 12’40’’
Off¾
School Jury Prize for Best Short Film in Competition Nr 1 – Sancy Film Festival for Young People PLEIN LA BOBINE, France
Jury Award for Best Animation film – 7th International Children film festival LISTAPADIK 2005, Belorussia
Redzi, Trusi?…tētis brauc uz Londonu! / LISTEN, RABBIT…DADDY GOES TO LONDON by Nils Skapāns / JPS/ 2004, 35mm, 8’17’’
16
USEFUL ADDRESSES
MAIN FILM INSTITUTIONS
National Film Centre
of Latvia (NFC)
Peitavas 10/12
LV1050 Riga Latvia
Tel + 371 7358 878
Fax + 371 7358 877
[email protected]
www.nfc.lv
Film Board of Culture Capital
Foundation
Vīlandes 3
LV1010 Riga Latvia
Tel + 371 7503 177
Fax + 371 7503 897
[email protected]
www.kkf.lv
Filmmakers Union of Latvia
Elizabetes 49
LV1010 Riga Latvia
Tel + 371 7288 536
Fax + 371 7240 543
[email protected]
Latvia Film Producers
Association
Elizabetes 49
LV1010 Riga Latvia
[email protected]
Department of Screen and Stage
Art, Academy of Culture
Dzirmavu 46
LV1010 Riga Latvia
Tel + 371 7243 393
Fax + 371 7141 012
[email protected]
www.lka.edu.lv
Latvia State Archive of
Audiovisual Documents
Šmerļa 5
LV1006 Riga Latvia
Tel + 371 7529 822
Fax + 371 7529 954
[email protected]
www.arhivi.lv
Eurimages National
Representative
c/o National Film Centre
Peitavas 10/12
LV1050 Riga Latvia
Tel + 371 7358 860
Fax + 371 7358 877
[email protected]
Media Desk Latvia
c/o National Film Centre
Peitavas 10/12
LV1050 Riga Latvia
Tel + 371 7358 857
Fax + 371 7358 877
[email protected]
www.mediadesk.lv
Baltic Sea Forum for
Documentaries
c/o National Film Centre
Peitavas 10/12
LV1050 Riga Latvia
Tel + 371 7358 858
Fax + 371 7358 877
[email protected]
www.mediadesk.lv
MAIN DISTRIBUTORS
Baltic Cinema
13. janvāra 8
LV1050 Riga Latvia
Tel +371 7357 608
Fax +371 7357 627
[email protected]
www.forumcinemas.lv
ACME Film
Kr.Valdemāra 33-8B
LV1011 Riga Latvia
Tel +371 7338 027
[email protected]
INTERNATIONAL FILM FESTIVALS
Riga International Film Forum
Arsenals
Mārstaļu 14
LV1050 Riga Latvia
Tel +371 7210 114
Fax +371 7280 445
[email protected]
www.arsenals.lv
International Animated Film
Festival Bimini
Ezermalas 4/2-50
LV1006 Riga Latvia
Tel + 371 6887 867
Fax +371 7540 066
[email protected]
www.bimini.lv
Riga International
Fantasy Film Festival
Mārstaļu 14
LV1050 Riga Latvia
Tel +371 7221 620
Fax +371 7820 445
[email protected]
www.arsenals.lv
International Festival of Film
Actors “Baltic Pearl”
Blaumaņa 26-18
LV1011 Riga Latvia
Tel +371 7289 019
Fax +371 7289 040
[email protected]
www.balticpearl.lv
Riga International Children Film
Festival “Berimor’s Cinema”
Mārstaļu 14
LV1050 Riga Latvia
Tel +371 7221 620
Fax +371 7820 445
[email protected]
www.arsenals.lv
Youth Film Festival
“Happy 2ANNAS”
Annas 2
LV1001 Riga Latvia
Tel +371 9107 124
Fax + 371 7614 789
[email protected]
www.re-lab.lv/2annas
International Documentary
Film Symposium
Amatu 5
LV1941 Riga Latvia
Tel/Fax +371 7210 022
[email protected]
www.latfilma.lv/symposium
International Film Forum “And
The Word Became Film...”
M.Pils 6-4
LV1050 Riga Latvia
Tel + 371 7222 061
[email protected]
www.stunda.lv
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Supported by
The National Film Centre of Latvia is a state financed governmental
organisation overseeing the film branch in Latvia, granting
governmental financial support to Latvian films, preserving the
national audio-visual heritage, promoting Latvian films abroad, cooperating with the relevant international and national organisations and
organising training for Latvian film professionals. We are members of
the EURIMAGES Foundation as of 2001 and MEDIA Plus as of January,
2002. At major international events we work together with Estonians
and Lithuanians under the co-operation platform BALTIC FILMS. We
are keen on attracting film, television, and video production to Latvia,
stimulating inward investment, creating employment opportunities
for creative staff, technicians and support service companies.
Published by:
National Film Centre of Latvia
Peitavas 10/12, LV1050 Riga Latvia
Tel + 371 7358 878
Fax + 371 7358 877
[email protected], www.nfc.lv